Lynn Baxter

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Selection of Lynn's work
Statement
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“Cloud to Look Down On” is fabricated in angle iron. Part of an extensive exploration of the aspiration to fly, it is a drawing in air, though heavily earth-bound.
“Cloud to Look Down On” is a 3-D form in wood made to hang low in the exhibition space from hawsers. It conveys the sense of what it must be like to fly above the clouds.
Icarus” is a large-scale work in stainless steel and concerns the human aspiration to fly, to break the bounds of the possible. It has kinship with the creative impetus. Extending one’s experience through the imagination is as natural as Drawing in Air
“Sun Chariot” is a unique Danish Bronze Age sculpture, here re-imagined as a home-made toy. The sun is drawn on wheels by a divine horse. Delving into workshop waste resulted in this sculpture in found materials, wood, plaster and metal.
“The Berry Sings Red Upon the Bow Wave” is an installation in painted wood, part of a multi-disciplinary series of works made during a Cromarty Artist in Residency. Its title is the first line of my poem conveying the close relationship between the land (with its rowan trees) and the sea. The poetry was published and translated into the Gaelic.
“Towers to Fly From: Leaning Tower and Fallen Tower”: In an attempt to defy gravity, the towers convey vulnerability, as they rely on nearby solid structures to hold them up. The metal one is 4m tall in angle iron, the smaller one in wood.
“Tools for Reinventing The Lista”: The boat was burnt when in dry dock. Its demise resulted in a multi-disciplinary extensive exploration, both celebration and requiem, recreating its beginnings in Lerwick through to its final end. Fashioned to reclaim the lost boat, they are unfit for purpose and can have no efficacy, though the shuttle can weave its story.
“A Cabinet of Curiosities for Perth’s Eight Trades” was commissioned by Volvo (Scotland). It celebrates the eight medieval trade guilds of Perth: Hammermen, Bakers, Weavers, Wrights, Fleshers, Glovers, Shoemakers, Merchants. Made in wood and metal, the totality is unified by metal finishes.

Artist’s Statement

My practice ranges from abstract sculpture to painting, - sometimes exploring the interface between. Sculptural work spawns paintings, an interest in bending the picture plane, the addition of 3-D elements – and sculpture can be drawing in air.
Industrial and found elements interest me and I work mainly in metal, wood, ceramics, mixed media, often at large scale.

Two major themes informing my sculpture of late have been, firstly, the human aspiration to fly, its kinship with the creative impetus: “Drawing in Air”; “Towers to Fly From, Clouds to Look Down On”. Secondly, the journey and demise of a burnt boat. Her story is that of Everyman, and is both requiem and celebration.

The above themes embody my fascination with ancient cultures and early literature. My first degree encompassed Anglo Saxon and Old Norse literature and language. My practice encompasses the text-based.
Following a career in arts management and public art commissioning I gained a first class BA (Hons) in Fine Art.
Awards: Two Art College awards, including the Alastair Smart Sculpture Prize.

Sculpture Commission: Volvo (Scotland)
Arts Residencies: Yorkshire Sculpture Park. Cromarty Arts Trust (Resident Artist).

Exhibitions in many public and private galleries of artworks in both sculpture and painting
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